At the same time, the musicians have grown increasingly distrustful of the board and symphony
managers, citing what they see as years of mismanagement, inadequate fundraising and poor
marketing.

Any shrinking of the orchestra -- a main component of a board-proposed restructuring plan --
would destroy whatever credibility the orchestra has left with the community, musicians say.

The managers and musicians also disagree over how to restore credibility. The board calls for a
return to balanced budgets and restored reserves; and the musicians, to artistic growth and renewed
excellence.

The musicians are convinced that Columbus has the wealth and population to support the symphony
at its current budget level.

On Jan. 17, after walking out of the board's first attempt to explain the restructuring, union
President Doug Fisher and other musicians said they'd rather see the symphony die than be
downsized.

Asked the same question more recently, tuba player Jim Akins called the query a difficult one
and said he'd have to think about it.

Recurring deficits

Annual deficits in the seven figures -- related to but separate from cash-flow emergencies,
which can occur even with balanced budgets -- have been systemic for the past five years.

The 2006-07 deficit -- a record $2.2 million -- was not the board's only concern in developing a
restructuring plan.

The multiyear proposal, unveiled in mid-January, calls for reducing performance weeks from 46 to
34 and cutting about $2.5 million from annual budgets beginning next season. (The 2008-09 budget,
for instance, would be about $9.3 million, down from more than $12.5 million based on current
projections of rising costs.)

Instead of cutting weekly salaries, the board proposes to replace some full-time musicians with
part-time players who would fill out the concerts as needed according to the repertoire.

The reduction in full-time musicians from 53 to 31 is the part of the plan that has sparked the
most controversy and alarm -- from the musicians as well as some longtime symphony supporters.

Board members say Columbus can't afford the symphony at its current size.

The only way to avoid future deficits, they say, is to cut the number of full-time musicians,
whose salaries and benefits make up 38 percent of the symphony's $12.4 million budget. (Counting
part-time musicians, that figure totals 45 percent.)

Musicians fear -- probably rightly -- that such drastic cuts would reduce the orchestra's
quality and undermine its growing national reputation. They also worry that the best musicians
would leave town for positions elsewhere.

The musicians are, indeed, the soul of the symphony, but if annual support is lacking to pay the
players and rising bills, then what?

Limited financial options

The symphony and Opera Columbus, for example, averted collapse in 1992-93 -- during the same
post-recession years that Players Theatre Columbus folded after seven decades as the Columbus
area's oldest major arts group.

Now, the symphony is in need of life support again.

But the corporations and wealthy individuals who have rescued the organization through the years
-- including recent financial infusions for emergency "bridge" campaigns, which helped only to
reduce sky-high deficits to something more acceptable -- say they're done contributing.

Their patience and pocketbooks, they say, have been exhausted.

Communication breakdown

The musicians and management aren't talking to each other.

Jim Akins, the orchestra's principal tuba player and designated spokesman, said players firmly
believe that downsizing would severely undermine the orchestra's artistry and reputation.

Since the musician representatives left the January meeting at which the board tried to outline
its restructuring proposal, board leaders say union leaders have imposed a gag order on
players.

Board leaders and managers also say the musicians have rebuffed repeated efforts to discuss the
crisis.

Akins denies both contentions.

Zuheir Sofia, the former board president who helped resolve a 1986 musicians strike with private
meetings, recommends a compromise: Open the lines of communication so the board and the musicians
can find a way for the symphony to survive and flourish.